Anthony Plog's Concerto for Flute and Wind Ensemble is a substantial but relatively unknown work from the composer's early compositional period. It deserves wider exposure and recognition in the repertoire for solo flute and wind ensemble, given its accessibility for both the soloist and the ensemble.

Willy Burkhard (1900–1955) was one of the most prolific Swiss composers of the twentieth century. His works comprise ninety-nine opuses and include a multitude of genres. Burkhard was awarded the Swiss Composersʼ Prize and the Music Prize of the City of Zürich. He held teaching positions at the conservatories in Bern and Zürich and was a Swiss Musiciansʼ Society board member for thirteen years. Indicating his importance to Swiss musical history, the Willy Burkhard Gesellschaft was founded in Bern in 1964. This dissertation examines Burkhardʼs solo and chamber music for flute, including the Suite en miniature für Flöte und Klavier, Op. 71, No. 2 (1944), the Serenade für Flöte und Gitarre, Op. 71, No. 3 (1944), the Serenade für Flöte und Klarinette, Op. 92 (1953), and the Suite for Flöte solo, Op. 98 (1955). These works represent Burkhardʼs mature compositional style and their study provides insight into Burkhardʼs musical language and processes. Burkhardʼs music straddles the line between the tonal and atonal worlds. He often creates a tonal center through repetition of the tonic pitch class or harmony. However, he avoids diatonic scales in favor of chromatic and octatonic pitch sets. The formal structure of the music is closely related to Burkhardʼs treatment of tonality. Pitch and rhythmic motives are integral to Burkhardʼs music and appear in both melodic and secondary lines. He uses ostinato figures in the accompaniment that may either complement or contradict the melody. Burkhardʼs use of intervals is deeply intertwined with all of these elements, as he is partial to the minor second, minor third, major third, and perfect fourth. These intervals serve to create both local and long-distance connections. Of lesser importance is Burkhardʼs use of harmony, in which he generally chooses smooth linear motion and color over function. Burkhard also explores different textures in his music, regardless of instrumentation. The knowledge gained through analysis is then used as a basis for notes regarding the performance of these works, with the goal of inspiring an appropriate stylistic interpretation. In addition to these suggestions, technical information and practice ideas are provided when applicable. / Suite en miniature für Flöte und Klavier, op. 71, no. 2 -- Serenade für Flöte und Gitarre, op. 71, no. 3 -- Serenade für Flöte und Klarinette, op. 92 -- Suite für Flöte solo, op. 98. / School of Music

Abstract In 1934, the French flute pedagogue Marcel Moyse (1889–1984) published his celebrated De la sonorité, a method book that aimed to provide a technical groundwork through which flute players could emulate the expressive powers and control of tone displayed by exponents of the operatic singing technique bel canto. This critical commentary sets De la sonorité in both aesthetic and historical contexts, examining the ways in which Moyse made use of the human voice, and more specifically bel canto, as a model for flute players and instrumentalists in general. It is clear that Moyse’s own experience in opera orchestras and exposure to opera repertoire and singers influenced his teaching style and publications. In addition to De la sonorité, he published two volumes of opera arias transcribed for the flute (in 1962 and 1973) which suggest that bel canto, the opera and the flute were all related in his mind. Indeed, it is possible to significantly enhance our understanding of De la sonorité if it is viewed from the perspective of its vocal influences. Historical references advocate the use of the voice as a model for expression because it is the vehicle through which emotions are expressed. As a result Moyse extolled this “natural way” in his teachings. Exploring bel canto establishes similarities to flute playing both aesthetically and technically. The exercises contained in De la sonorité enable the player to work towards producing a homogeneous and focused sound with ease through the entire register of the instrument at any dynamic level. Alongside a discussion of the five sections that make up De la sonorité (“Timbre and Homogeneity of Tone in the Three Registers,” “Suppleness in the Low Register,” “Attack and Slurring of Notes,” “Fullness of Tone” and “The Management of Tone in Interpretation”) the present study includes a practical performance-based perspective with commentary on Moyse’s approach from three leading flute players and pedagogues currently working in Australia: James Kortum, Lecturer in Flute at the Sydney Conservatorium of Music; Alan Hardy, Lecturer in Flute at The University of Melbourne; and Prudence Davis, Principal Flute with the Melbourne Symphony Orchestra.

Abstract In 1934, the French flute pedagogue Marcel Moyse (1889–1984) published his celebrated De la sonorité, a method book that aimed to provide a technical groundwork through which flute players could emulate the expressive powers and control of tone displayed by exponents of the operatic singing technique bel canto. This critical commentary sets De la sonorité in both aesthetic and historical contexts, examining the ways in which Moyse made use of the human voice, and more specifically bel canto, as a model for flute players and instrumentalists in general. It is clear that Moyse’s own experience in opera orchestras and exposure to opera repertoire and singers influenced his teaching style and publications. In addition to De la sonorité, he published two volumes of opera arias transcribed for the flute (in 1962 and 1973) which suggest that bel canto, the opera and the flute were all related in his mind. Indeed, it is possible to significantly enhance our understanding of De la sonorité if it is viewed from the perspective of its vocal influences. Historical references advocate the use of the voice as a model for expression because it is the vehicle through which emotions are expressed. As a result Moyse extolled this “natural way” in his teachings. Exploring bel canto establishes similarities to flute playing both aesthetically and technically. The exercises contained in De la sonorité enable the player to work towards producing a homogeneous and focused sound with ease through the entire register of the instrument at any dynamic level. Alongside a discussion of the five sections that make up De la sonorité (“Timbre and Homogeneity of Tone in the Three Registers,” “Suppleness in the Low Register,” “Attack and Slurring of Notes,” “Fullness of Tone” and “The Management of Tone in Interpretation”) the present study includes a practical performance-based perspective with commentary on Moyse’s approach from three leading flute players and pedagogues currently working in Australia: James Kortum, Lecturer in Flute at the Sydney Conservatorium of Music; Alan Hardy, Lecturer in Flute at The University of Melbourne; and Prudence Davis, Principal Flute with the Melbourne Symphony Orchestra.

Thesis (M.M.)--University of North Texas, 2008. / For flute oboe, clarinet, horn, bassoon, and marimba, with an optional percussion part (glockenspiel, chimes). Duration: ca. 6:45. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 61-64).

AFRIKAANS: Die aangewese manier om met instrumentale onderrig te begin, is gewoonlik om van 'n praktiese handboek gebruik te maak. Juis omdat die fluit 'n gewilde instrument blyk te wees onder hoërskoolleerlinge wat 'n tweede instrument op skoolvlak wil begin aanleer, het die skrywer 'n gebrek ervaar aan 'n werklik toepaslike praktiese handboek wat op beginners van hierdie ouderdom gemik is. So 'n handboek moet 'n nuwe speler in staat kan stel om binne 'n tydperk van gemiddeld drie tot vyf jaar die minimum voorgeskrewe standaard van UNISA of Associated Board of Royal Schools of Music graad V tot VI te bereik. Deur middel van hierdie studie word daar gepoog om hierdie leemte aan te vul, en is die voorgestelde handboek vir 'n jaar deurlopend op beginner f1uitspelers getoets en aangepas. Die teikengroep is die groep leerlinge wat vanaf graad 8 tot 11 met fluit as tweede instrument begin. Hierdie leerlinge bespeel gewoonlik 'n eerste instrument op 'n standaard van ten minste UNISA graad III en beskik gewoonlik oor 'n redelike vlak van musiekteoretiese kennis. Die verhandeling is op drie vlakke aangepak, naamlik 'n agtergrondstudie tot hoërskoolfluitonderrig, 'n kritiese evaluering van vier bestaande fluithandboeke en dan die skryf van 'n raamwerk vir 'n voorgestelde fluithandboek. Die agtergrondstudie wat as handleiding vir die fluitonderwyser bedoel is, is omvattend aangepak. Aspekte hierin vervat sluit onder meer oefenroetines, die versorging van 'n fluit, opsies wat beskikbaar is wanneer 'n fluit aangekoop moet word, fisiese vereistes, toonontwikkeling, vibrato en dergelike verwante aspekte in. Hierdie aspekte is almal in een studie aangepak omdat hierdie relevante inligting selde in een handleiding vir die fluitonderwyser beskikbaar is. As voorstudie tot die skryf van 'n praktiese handboek is vier bestaande handboeke krities beskou met die oogmerk om gunstige kenmerke uit hierdie boeke in die voorgestelde handboek te integreer. Die skrywer het ook die bruikbaarheid al dan nie van hierdie vier publikasies vir leerlinge in die teikengroep geevalueer sodat die skryf van 'n handboek vir hoërskoolleerlinge hieruit gemotiveer kan word. Die handboek wat op die horskoolbeginner gemik is, word in die laaste hoofstuk bespreek en in Bylaag 1 aangeheg. Met hierdie handboek wil die skrywer die hoerskoolbeginner in staat stel om 'n stewige basis vir toonontwikkeling te Ie sodat enige vingertegniese werk, soos studies en toonleerpatrone vanuit hierdie perspektief aangepak kan word. Die skrywer is van mening dat die fluit se aantrekkingskrag in die eerste plek in die spesifieke eienskappe van die toon gesetel is, en beskou daarom die vestiging van 'n stewige basis vir toonontwikkeling as voorvereiste vir enige tegniese ontwikkeling wat later mag volg. Begeleidings word vir heelwat van die aanvangsstukke verskaf omdat die skrywer verder ook van mening is dat die nuwe fluitspeler beter gemotiveer word wanneer die ervaring van musiekskepping saam met 'n ander instrument van heel vroeg af beleef word. Verder word 'n hoe premie op die integrasie van tegniese- en toonontwikkeling vanaf die vroee lesse geplaas. Omdat daar met hoërskoolbeginners, wat alreeds oor 'n redelike mate van musiekteoretiese kennis beskik, gewerk word, word note met skuiftekens vanaf die vroeë lesse gebruik sodat die omvang van nuwe note wat aangeleer word eerder lateraal in plaas van vinnig na boontoe uitgebrei word. Sodoende kry die onderwyser geleentheid om seker te maak dat die basiese boustene vir toonbeheer gevestig is voordat nuwe note bygevoeg word. Met hierdie studie hoop die skrywer om 'n leemte te vul en dat hierdie studie leiding aan heelwat fluitonderwysers kan gee. ENGLISH: The normal way in which to start with an instrument is by using a suitable instrumental tutor. Such a tutor usually provides both pupil and teacher with an appropriate order in which to learn new material, and by using a combination of exercises and pieces, helps the new player to internalize acquired skills. The flute seems to be a very popular instrument, especially for high school music pupils wanting to start with a second instrument. And it is in this regard that the author experienced a lack of a suitable flute tutor for beginners of this age group, enabling them to reach a standard of UNISA or Associated Board of Royal Schools of Music grade V to VI within three to five years. Because of this, the author wrote and empirically adapted a suggested tutor for high school flute beginners to provide in this gap. The target group were those pupils in grade 8 to 11 starting with a second instrument and playing a first instrument with a minimum standard of UNISA grade III. A reasonable knowledge of theory of music is therefore supposed. This paper was done on three levels, the first level being a background study to flute teaching, the second level a critical evaluation of four flute tutors and the third level the provision of a suggested flute tutor for high school beginners. Because very few publications provides a flute teacher with relevant information in one book, the background study covers a wide array of subjects. Therefore subjects such as practicing schedules, physical requirements, the care of the flute, options available when purchasing a flute, tone development, vibrato and other appropriate subjects were investigated. The critical evaluation of the four flute tutors served as an introductory study for the provision of a suggested flute tutor. For this reason positive elements from these tutors were integrated in the suggested flute tutor, and the suitability of these four tutors by pupils in the target group were also investigated. The discussion of the suggested tutor in the last chapter serves as an introduction to the tutor itself. With this the author hopes to enable the flute beginner to acquire a solid tonal foundation before starting on various technical exercises. The integration of tone development and technical proficiency from the earliest lessons are also a matter of high priority. For this reason, and also because a reasonable knowledge of theory of music are supposed, the inclusion of chromatic notes from the earliest stages helps the new player to develop a technical proficiency while at the same time developing tone control. Accompaniment to many pieces in the tutor are provided from as early as the third lesson. In this way it is hoped to promote motivation and enthusiasm for the pupil by broadening the experience of music-making from as early as possible. / Dissertation (MA (Music Science))--University of Pretoria, 2006. / Music / unrestricted

Flutists have reported musculoskeletal pain from practicing and performing their instrument. This study was a statistical approach to investigate potential causal risk factors for flute related pain among high school and college students. The study focused on the relationship between flute related pain and musical background or anthropometric measurements including size, strength and flexibility. Subjects included thirty high school and college-aged flutists who were assessed using a questionnaire, bi-lateral anthropometric measurements of the upper-extremities, upper-extremity performance tests for range of motion, isometric strength and rotation speed, and instrument specific questions. Four questions regarding pain associated with flute playing were treated as dependent variables and used for correlation and regression analyses with other independent variables. A six-factor regression model was created and each model was statistically significant. Results of this study show that strength, flexibility, pain spots, and exposure are risk factors for flute related pain. Both left and right pinch strength and right isometric pronation strength were significantly correlated to flutists experiencing pain while playing. Knowledge of these factors in relationship to pain is needed in flute pedagogy to help teachers and performers understand why flutists report pain during and after playing. Additional studies are warranted for replication of this study and for determining the clinical and pedagogical relevance of these findings.

The Lecture Recital was given on July 28, 1981. Its subject, Carl Reinecke's "Undine" Sonata, is a major work written for flute during the nineteenth century. Reinecke was highly respected as a conductor and pianist; his great love for the classical style tempered his Romanticism and conditioned his approach to both performance and composition. The subtitle of the sonata suggests a program based on Friedrich de la Motte Fouqué's short novel, Undine. Although few flutists are familiar enough with this tale to recognize its application to the sonata, an exploration of the program implied by the subtitle adds materially to an understanding and appreciation of the work; to a large extent, the content of each movement is conceived in terms of the program. Further examination of Reinecke's life and philosophy reveals that both the choice of this particular literary subject and the uniting of Romantic pictorialism with classical form were entirely characteristic of his writing. Since Reinecke specified no program other than the subtitle, any relating of the music to specific events in the story is necessarily a subjective postulation. The musical content of the work makes it fairly easy to establish a broad correspondence between the movements of the sonata and the progress of the story, however, leaving details to the individual imagination. Within the paper, the pictorial aspects of the music are explored in the belief that they can not only assist in an appreciation of the work, but also provide a guide to the performer for its interpretation.

Concertino for Flute, Timpani, and String Orchestra is a three movement piece that blends Western European forms with Korean idioms. The following essay addresses pitch materials, melodic structure, rhythm, form, instrumentation, vertical structures, and developmental procedures used in the work.

Five Seasons is a musical work for flute and percussion. The flutist alternately performs on the C flute with a B foot, alto flute, piccolo, and bass flute in each movement. The percussionist also plays different instruments in each movement: the vibraphone for Mid-Summer; the xylophone for Fall; the woodblock, temple block, and cowbells for Spring; the glockenspiel for Summer; and the marimba for Winter. The five movements of this work - Mid-Summer, Fall, Spring, Summer, and Winter - are based on a combination of Eastern performing practices with Western instruments. The musical characteristics are based on the techniques of fifteenth-century (e.g., isorhythmic technique) and twentieth-century Western music.